I know I’m a bit out of synch with my usual schedule of posts, but this topic has been swirling around my thoughts for several days, and I’m finally getting time to write about the topic.

The hardest job an editor has, I think, is determining what the author wants the final product to be like. The editor’s role is to help the author mold the manuscript so that it ends up meeting the author’s wants, not the editor’s belief as to what the author wants.

The problem is that few authors provide the information necessary to accomplish the task. In the books I currently work on, any guidance comes from the publisher, not the author, which is not how it should be. Years ago, when I edited fiction and worked directly with authors, a lot of time and effort were wasted with back-and-forth communications in an attempt to land the author and me on the same page. It is one of the reasons why I stopped working directly with authors (although in the past year I have had many requests from authors to edit their fiction, and I am contemplating doing so).

In the case of fiction, I think an author should provide an editor with the following information:

a one-page summary of the story;

a complete list of characters, including the desired name spelling, any relationships between characters (e.g., spouse of, sister of, granddaughter of), and a physical description of each character;

a complete list of geographical locations, indicating whether each is real or made up, and with correct spelling;

a list of special terms or made-up words;

a timeline of major events; and

an indication whether this is part of a series (e.g., book one of a trilogy).

Depending on the story and the author’s plans I would also ask the author to provide additional information.

It is true that an editor can gather all of the above information herself from a first read of the manuscript. But leaving the task to the editor means that there is no assurance that something important will not be missed or misinterpreted. More importantly, it wastes valuable (and costly) time that could be better spent actually editing.

With nonfiction, the list changes based on the type of book and the intended audience. As I have mentioned in other posts, most of my work is in medical textbooks written by doctors for doctors. What I would like to know in advance are such things as:

which acronyms can be always used as acronyms and not spelled out because they are commonly understood by the intended audience;

how certain terms should be approached (e.g., Is ultrasound acceptable/preferred when talking about the procedure, which is more correctly called ultrasonography? Should it be x-ray or radiography?);

preferred spelling where there is more than one spelling option (e.g., distension or distention?); and

any other author preferences that I should be aware of.

The point is to make the editing and the review of the editing go smoothly and not end up being focused on something that is minor because it is a pet peeve of the author.

This review focus is really at the core of why an author should provide an editor with as much information as possible. Over the course of 28 years of editing, more times than not, when an author has complained about the editing, the complaint has been because no one passed on information about what the author wanted or expected. The author became focused on the tree rather than the forest.

An often heard complaint from disgruntled fiction authors is that the editor screwed up the book. I don’t doubt that the editor made mistakes, but my first thought goes to the information that the author provided. Was the editor just handed the manuscript or was the editor given sufficient information that the editor’s mistakes are really the sign of an incompetent editor and not of a lazy author?

Unfortunately, there are authors who believe that the only role an editor should play is that of spellchecker because whatever the author wrote is perfect as is, with the exception of the occasional misspelling. I remember editing a novel early in my career where I correct the misuse of their, there, where, were, your, and you’re only to receive a nasty note from the author telling me how I had taken a well-written manuscript and made it a poorly written one, and that I had been hired just to check spelling, not to change words or meaning. I scratched my head vigorously because I would have thought that changing where to were was correcting a misspelling and not changing meaning, but I clearly was missing something. As it turns out, the author believed that using the wrong words reinforced the character’s illiteracy. The author may have intended that but missed the connection because the character used polysyllabic words that indicated a good command of language except for these words. More important, however, was that the author’s failure to communicate to me that the character was intended to be illiterate meant that I didn’t catch the characterization error that resulted from other word choices. The book was a disaster from the author’s intended perspective and I didn’t help matters because of the lack of pre-editing information.

Authors and editors should collaborate, not fight each other. The goal of each is to make the book the best it can be. Authors need to take a more proactive role in the collaborative effort by providing basic information — without waiting to be asked for the information — before the editor begins work. Together, the author and editor can make the author’s voice heard.

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[…] more of this valuable post via The Business of Editing: What an Author Should Give an Editor « An American Editor. It includes suggestions for what editors should have in advance from authors of nonfiction work as […]

[…] not carefully preparing either the manuscript or the materials that should accompany it (see, e.g., The Business of Editing: What an Author Should Give an Editor) and by not knowing precisely what type of edit the author wants me to perform (see, e.g., Editor, […]

Just read this – another good one, thanks. As for a list of characters and their relationships, I often wish this was published in the book for readers like me with a poor memory for names. I often flip back to remind myself who’s who. Just as well I don’t edit fiction!

Great post, Rich. I would add one more item to the list of information the author should provide: the target audience. Knowing that helps the editor determine what word choices are appropriate…and while an editor is not a marketing professional, when an editor hears a potential client respond that his/her target audience is everyone, that editor know the writer is a novice.

[…] the information the editor needs before you are asked for it. Here’s a good place to start: “The Business of Editing: What an Author Should Give an Editor”. Also make an effort to learn what it is you want the editor to do. Make sure when you say you want […]